Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Emrah - İstanbul'u Benden Sorsunlar - Chord
Key Db major – Bb minor Chords Fm, Gb, Bbm, Ebm, Ab Easy key C (capo 1)
No ratings yet
or your user informations
Make it yours
Text size
Key: Db | A#m | Bbm
Capo: 0
Bbm Gb
Bu gece seninle son buluşmamız
Fm Ebm Fm
Lütfen sus ve dinle
Ab Gb Bbm
Acı gelebilir sözlerim sana
Ab Gb Bbm
Vedalaaş benimle
Fm Ebm
Sevenlerin ahı yerde kalmıyor
Fm Bbm Gb
Senin günahını yüreğin çeksin
Fm Ebm
Bir daha yüzümü görmeyeceksin
Fm Bbm Gb
Aşkı ayrılıkla öğreneceksin
Bbm Fm
Bu gece İstanbul'u benden sorsunlar
Ebm Fm Gb Ab
Yarından sonra beni sen anlatırsın
Fm Gb
Aşkta kim kazanmış kimmiş kaybeden
Ebm Ab Gb Fm
Bunu da kalbine hatırlatırsın
End of song Play again?
Emrah - İstanbul'u Benden Sorsunlar Tabs
NotesX
Harmony analysis
Emrah – İstanbul'u Benden Sorsunlar: key and chord analysis
The song opens on Bbm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm and Bbm is heard 6 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Db or to Bbm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 5× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 10× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 8× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 4× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 6× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 6× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 5× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 10× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 8× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 4× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 33 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Gb Bbm DbIV → vi BbmVI → iVI → i ×3
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×2
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×1
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×1
The move to watch is Gb → Bbm, heard 3 times. From the Bbm side it is VI → i (VI → i: falls a half step into home); from the Db side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. Fm, Gb, Bbm, Ebm carry the song: iii–IV–vi–ii relative to Db, v–VI–i–iv relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Bbm (IV → vi in Db, VI → i in Bbm): VI → i — falls a half step into home. It closes on Fm, letting the Db side have the last word.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Emrah - İstanbul'u Benden Sorsunlar Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
Repertoires with this song
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.